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Does this film change the way we look at the world the same way its 1982 predecessor and Phillip K. Dick's original 1968 story did? We look at the aesthetics of this brutal dystopian vision and how it portrays women, fertility, power and agency... all while its financiers struggle with creative accounting to justify another sequel.

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It's our Christmas episode and as is our tradition, we're covering a ghost story. While Deadman's comics may seem to be about an acrobat solving his own murder... we find out that it's also about censorship in the 1960s and collusion in the media industry.

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How do we respond to a pop music auteur who's been described as the "patron saint" of her generation? We look at her DIY production work ethic to find out. Additionally, we get very upset about how some try to sexualize, infantilize or demean her with criticism and even death threats.

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This Netflix program is about the early days of studying serial killers at the FBI. We look at David Fincher's meticulous storytelling here, as well as the show's attempts to disrupt the glorification of murder and the methodological portrayal of criminal profiling.

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In this essay, one of America's most beloved storytellers provides advice on consuming media, thinking critically about it and applying it to your own work. We get real personal while trying to figure out who our respective "muses" are.

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This 2007 thriller divides a lot of people over whether it's good or bad. We try to take a high road and instead explore what the film says about us. Is it about ordinary monsters? Addiction? Or America's guilt about its own dark side?

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David Byrne's self-titled album is a personal moment in his creative history, but do his lyrics have meaning? Or do they simply dredge up emotions for the listener? Also, how does an album that's this diverse have such a white, middle class identity associated with it?

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Terry Pratchett and Neil Gaiman's novel about the comedy of Armageddon seems to be the very definition of "twee." We try to unpack what that concept means and how it contributes to the authors' humanist message.

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This television show may be an adaptation of a superhero property, but it's unlike anything we've seen before. It takes the collage aesthetics from unusual comic books and turns them into Noah Hawley's kaleidoscope of mental illness, 60s futurism and a good old fashioned love story.

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Grant Morrison says this 2002 comic book with Chris Weston, Gary Erskine and Matt Hollingsworth is an inoculation against the nasty horror of the world through depravity, pornography and depression. We interrogate whether that theme works in the end product and if the sexual violence within is problematic.

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David Simon and Ed Burns produced what is heralded as one of the most authentic depictions of the Iraq War, based on Evan Wright's embedded reporting. We look at how it navigates between journalism and drama to keep us from forgetting the story of soldiers on the ground.

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Writer/director Robin Hardy describes The Wicker Tree as a companion piece to 1973's The Wicker Man. We dig into just how this film got made. Was it a spiteful response to the American remake? Or a continuation for a deeper purpose?

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Killer Mike and El-P call their latest record the album of their careers. How does it straddle crass humor, transgression and political activism? And if you are "the jewel," how does their music fit into your community?

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We turn to David Harper (Off Panel,SKTCHD) and Augie De Blieck, Jr. (Pipeline Comics) for expertise on what's going on in comics news. Are the struggles of this niche industry indicative of something broader going on in our media? Is news a trustworthy advocate that can help us make informed decisions?

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This comic book from two of Europe's most legendary creators both presents and parodies white male themes in the 20th century. So what makes it compelling today? Should we embrace or reject its existentialism?

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With a provocative book title, Laura Jane Grace is reclaiming a slur and repurposing it for her story of struggling with gender dysphoria and self-destructive behavior. Guest Alyson McManus helps us unpack this experience into something universal, with which we can all identify.

Steven Universe creator Rebecca Sugar has developed a warm, well thought out approach to family cartoons. We look at her goals, Cartoon Network's business plans and the fight in fandom over how this show represents diverse identities.

Past guest Swain Hunt (Sidebar, The Metronome) returns to discuss what makes movies hold up? We each tackle a film from the last 30 years of cinema and try to understand why they hold up for us: Bull Durham, Contact and V For Vendetta.

It's easy to connect with the symbol that is "Johnny Cash," whether you're a rebel, a wanderer, or even a Christian. But how do these contradictions come together as some kind of American identity? And how do these final recordings of a humble storyteller speak to our need for the man to come around?

After viewing the blockbuster Disney princess film Frozen with actual little kids, we look at all the cooks in this corporate cartoon kitchen. With this many people involved, how did they pull it off? And is this cartoon whitewashed? Too feminist? Not feminist enough? How is this fairy tale defining gender and ethnicity for an entire generation?

In the first of our two episodes on Dischord Records we look at the punk community of Washington D.C. in the 1980s and its conflicting ethics of politics, violence and drug abuse. Follow along with the story of Ian MacKaye and Jeff Nelson's label until its redefining summer of 1985.

Hellboy's a charming, working class hero, despite being a demon's spawn. We look at how creator Mike Mignola taps into the mythic simplicity of folk tales and how Hellboy itself has become a commodified franchise.

For our first coverage of a reality television show we go from beauty to camp, to joy and grief. This show simultaneously sells branded content that somehow doesn't feel sleazy, while also providing an extraordinary platform for LGBTQ culture.

A novel that took Stephen King 12.5 years to write is now a major franchise. But what was it like when fans (and retailers) were rabid for more? Did King have a "responsibility" to them? And why didn't he plot his fantasy world... instead of writing it by the seat of his pants?